Photos and programme from 26 Oct

Click here to download programme notes from the Stravinsky / Messiaen concert on 26 October

Many thanks to all the performers for a thrilling evening!

"It was wonderful to play the Messiaen in such a special setting, with such an attentive audience" (Tim Gill, cellist)

Audience comments: "Absolutely fantastic concert. Still buzzing from it all"; "we felt privileged to be able to attend such a performance, literally down the road from where we live"; "the best yet at King Charles, and so moving".


The Rite and the End of Time

On Saturday 26 October, at 7:30pm, we provide a rare opportunity to hear two of the most famous and ground-breaking works of the Twentieth Century. This is a concert that has to be experienced!

Stravinsky's Rite of Spring for piano duet, played by Anthony Zerpa-Falcon and Jong-Gyung Park

Messiaen's Quartet for the End of Time played by Thomas Bowes (violin), Tim Lines (clarinet), Eleanor Alberga (piano) and Tim Gill (cello).

Read more about this concert here.

"The phenomenon of music is given to us with the sole purpose of establishing an order in things, including, and particularly, the co-ordination between man and time." Igor Stravinsky

Tickets: £15 (£12.50 in advance, from Hall's Bookshop or by emailing kcmconcerts@blueyonder.co.uk). No charge for under-18s.

The venue: King Charles the Martyr church is in the heart of the old town in Tunbridge Wells, post code TN1 1YX.

Bach Organ Finale

Sunday 24 November 5:30pm
King Charles' organist Michael Bacon ends his journey through the complete Bach organ music - over 300 pieces - with a short recital including the great Passacaglia in C minor.
This is a short recital of around 35 minutes.
Free admission: retiring collection towards the new fund for renovation of the church's Walker organ

Michael Bacon writes:
"At the beginning of 2006, inspired by my work on Radio 3’s week-long broadcast of the complete works of Bach, I decided to play all his organ music. Why? Because it is the most incredible collection of pieces in the repertoire, not only for the organ, but any instrument. 300 works in all, filling between 19 and 22 CDs, depending on the player.
I have written before of my passion for Bach’s music – not only is it hugely inspired, written with a level of mathematical skill which is comparable to the most complex nuclear physics, it is full of joy and humanity. If you think it is dry, or dull, blame the performer. In fact, that’s why, until that point, I’d avoided playing Bach, knowing I’m not worthy of it. Discussing it with a friend, he said that it was a silly reason not to get to know, close up, some of the very greatest art. So, I took up the challenge, giving myself 10 years to play every piece, in public.
Almost all of this has been at KCM, and I’ve tried to play music appropriate for the liturgical season, and the mood of the occasion. Every single one has needed at least a few days’ work – some several weeks, so I’m glad I gave myself a decade to do it. I’d always planned to finish with the great Passacaglia and Fugue and that is what I’m going to do, just over two years before my deadline.
It’s been wonderful to do, getting to know many pieces that I’m not sure I’d even heard of. The music is so complete, and I enjoyed the challenge of the Trio Sonatas (three independent lines, one for each hand and one for the feet, like three friends playing together)so much that I have (almost) kept my 2013 New Year’s Resolution to play one every day.
I still don’t think I’m worthy, but I do think I’m a better player because of the discipline of having to keep everything clear and controlled. I’ve also been grateful for the interest and support shown by members of the congregation, friends, and colleagues at work and I hope that some of you will be able to share the end of this journey by coming along on 24 November. Admission free. What am I going to do next? No question – do it all again."